I’ll work my way from irony to sincerity in the sinking city, a would-be Whitman of the vulnerable grid.
BEN LERNERI didn’t want to write another book about fraudulence.
More Ben Lerner Quotes
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Maybe that’s the way I’m private – I respect the privacy of “my” characters? Anyway, we’re getting close to the whole “relatability” and “likability” thing.
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I remember I had this recurring dream that we were playing a night game and instead of eye black we had mashed up the glowing bodies of fireflies and put that under our eyes. So our faces were glowing – a kind of night vision.
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I came to realize that far more important to me than any plot or conventional sense was the sheer directionality I felt while reading prose, the texture of time as it passed, life’s white machine.
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Many of the left thinkers that really matter to me – that formed a big part of my thinking about politics and art – emphasize how capitalism is a totality, how there’s no escape from it, no outside.
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My concern is how we live fictions, how fictions have real effects, become facts in that sense, and how our experience of the world changes depending on its arrangement into one narrative or another.
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I have no interest in artists who are purely affirmative, who’ve made a commercialized fetish of the culture’s stupidity.
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Maybe now if you’re not an exhibitionist you’re private. Or maybe it’s just that for a lot of people – sometimes in interesting ways, sometimes in stupid ways – there’s no division between the art object and what surrounds it.
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I’m trying to be somebody on whom the experience is lost by supplanting it with its telling. I definitely do that in medical contexts, even in trivial ones.
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Most of us start from that position of irony now and what I wanted to do – really felt like I had to do if I was going to write another novel – was move towards something like sincerity.
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I wasn’t aware I’d write the novel when I wrote the New Yorker story either. And the narration of their construction in 10:04 is fiction, however flickering.
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Maggie Nelson cuts through our culture’s prefabricated structures of thought and feeling with an intelligence whose ferocity is ultimately in the service of love. No piety is safe, no orthodoxy, no easy irony. The scare quotes burn off like fog.
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What interests me about fiction is, in part, its flickering edge between realism and where a tear in the fabric of a story lets in some other sort of light.
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When the narrator feels like an octopus, when he says his limbs are starting to multiply, he means he has inklings of orders of perception beyond his individual body.
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I usually see the word “metafiction” applied to works that draw attention to their own devices, their own artificiality, in order to mock novelistic convention and show the impossibility of capturing a reality external to the text or whatever.
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The transpersonal is more awe-inspiring, more exciting than the thing we confuse it for.
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